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Soroush Dabiri
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Soroush Dabiri
Home
Online Store
  • Studio Sale
Collections
  • Symbiosis (2021-22)
  • Biophilia (2020-21)
  • Houseplants (2019-21)
  • Gardens of Shiraz (2019)
  • Remembrance (2019)
  • Relevance (2018)
  • Femininity (2014-15)
  • Quadri (2013)
  • Sustain (2012)
  • Windows (2010-11)
  • Close to Me (2009)
  • Sheykh e San-An (2008)
  • Shadows (2007)
  • Flowers (2006)
Online Art Classes
  • About The Courses
  • Drawing
  • Composition & Collage
  • Color Theory
  • Watercolor
  • Portraits Drawing
  • Acrylics
  • Oil
  • Mixed Media
About Me
CV
Photo Adventure
More
  • Home
  • Online Store
    • Studio Sale
  • Collections
    • Symbiosis (2021-22)
    • Biophilia (2020-21)
    • Houseplants (2019-21)
    • Gardens of Shiraz (2019)
    • Remembrance (2019)
    • Relevance (2018)
    • Femininity (2014-15)
    • Quadri (2013)
    • Sustain (2012)
    • Windows (2010-11)
    • Close to Me (2009)
    • Sheykh e San-An (2008)
    • Shadows (2007)
    • Flowers (2006)
  • Online Art Classes
    • About The Courses
    • Drawing
    • Composition & Collage
    • Color Theory
    • Watercolor
    • Portraits Drawing
    • Acrylics
    • Oil
    • Mixed Media
  • About Me
  • CV
  • Photo Adventure
  • Home
  • Online Store
    • Studio Sale
  • Collections
    • Symbiosis (2021-22)
    • Biophilia (2020-21)
    • Houseplants (2019-21)
    • Gardens of Shiraz (2019)
    • Remembrance (2019)
    • Relevance (2018)
    • Femininity (2014-15)
    • Quadri (2013)
    • Sustain (2012)
    • Windows (2010-11)
    • Close to Me (2009)
    • Sheykh e San-An (2008)
    • Shadows (2007)
    • Flowers (2006)
  • Online Art Classes
    • About The Courses
    • Drawing
    • Composition & Collage
    • Color Theory
    • Watercolor
    • Portraits Drawing
    • Acrylics
    • Oil
    • Mixed Media
  • About Me
  • CV
  • Photo Adventure

Composition and Collage Making

Course 5: Introduction to Visual Composition Through Model Making

Course 5: Introduction to Visual Composition Through Model Making

Course 5: Introduction to Visual Composition Through Model Making

In this course through 10 different practices, you will learn how to create balance into a composition. You will practice on governing the principles of composition by arranging physical three-dimensional units made by foam and cardboard.   

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Course 6: Collage Making; The Art of Thinking

Course 5: Introduction to Visual Composition Through Model Making

Course 5: Introduction to Visual Composition Through Model Making

In this course, each project starts with creating variety of marks preparing the source materials by applying graphite, charcoal, markers, and inks using different applicator over diverse bases. Then you will be using those textures and patterns arranging them into the body of painting. 

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Course 5: Introduction to Visual Composition

About the Course

Through making a physical stage model you will be practising on arranging physical three-dimensional units made by foam and cardboard in a composition. Through series of 10 practices, you will learn to apply proper rules governing connections between different proportions, altering the background / foreground, and having more control on tonal values over manipulating light directions and extracting shadows. This physical 3D model is your source of inspiration assisting you to create 2D composition through drawing techniques applying a medium of your choice.    


In course five you will be following a balance in a composition through considering useful observation in essential facts such as, size, form, texture, distance, accent, position, density, positive and negative space, weight, and focal point, which is intuitively comfortable for the viewer.     


Every component in a painting has a degree of pulling power. Each has attraction for the eye, while each draws attention to itself, it detracts from every other part proportionately. Balance is an opposition of elements that creates stabilized interaction and harmony between the components.  The result is the state of balance in line, form, mass, emptiness, lightness/darkness, and balance in measure.   


Every painting is a collection of units or items and each unit has a given value. This value depends on its attraction and its attraction varies according to placement. For instance, you should consider that, a unit near the edge has more attraction than some unit at the middle and a space in between, without detail, may possess attraction by gradation and by suggestion.  A unit of attraction in an otherwise empty space has more weight through isolation than when placed with other units. Another main factor is the scale of brightness and darkness in a composition. A black unit on white or a white unit on black has more attraction than the same unit on grey. This value is also proportionate to the size of the space that contrast with it.  


The other important element in a composition you should follow, is a united central point, which means that, two or more associated units may be reckoned as one. Their united central point is the point in which they balance with others.  



 

Course Outcomes

  • Ability to create a well-balanced composition 
  • Having better control over manipulating units in a composition 
  • Better understanding of scales and measures functions of in a composition 
  • Ability to create a focal point in a composition 
  • Ability to analyze a masterpiece into its main components   
  • Better understanding of tonal value configuration in a composition 
  • Ability to manipulate the scales of attraction  
  • Ability to leading the eye through a composition 
  • Better understanding of different observation 
  • Ability to create variety of compositions  

Registration

Course 5 Practices

Session 1: Vertical and Horizontal Balance, Practice 1: Formal Balance

Session 2: Vertical and Horizontal Balance, Practice 2: Balance by Transition

Session 2: Vertical and Horizontal Balance, Practice 2: Balance by Transition

Placement of units forming a perspective in the stage  creating a balance across the middle through placing the focal point at the middle of composition 



Session 2: Vertical and Horizontal Balance, Practice 2: Balance by Transition

Session 2: Vertical and Horizontal Balance, Practice 2: Balance by Transition

Session 2: Vertical and Horizontal Balance, Practice 2: Balance by Transition

Creating a balance by opposition of line and spot Creating a path for the eye through a series of oppositional units  

Session 3: Get in to the Painting through units’ arrangement

Session 2: Vertical and Horizontal Balance, Practice 2: Balance by Transition

Session 4: Perspective Recession, Getting helps from angular forms and zigzag lines

Place starting point directing the eye on further into the composition 

Session 4: Perspective Recession, Getting helps from angular forms and zigzag lines

Session 4: Perspective Recession, Getting helps from angular forms and zigzag lines

Session 4: Perspective Recession, Getting helps from angular forms and zigzag lines

Leading the eye comes upon the subject of interest and travel out of the composition   

Session 5: Circular Observation, Strong unity of form and action

Session 4: Perspective Recession, Getting helps from angular forms and zigzag lines

Session 6: Composition of Ovals, Reconstruction for Circular Observation

Moving through pyramid to concentric line of observation 

Moving vision in ever-expanding ellipses through the painting  

Session 6: Composition of Ovals, Reconstruction for Circular Observation

Session 4: Perspective Recession, Getting helps from angular forms and zigzag lines

Session 6: Composition of Ovals, Reconstruction for Circular Observation

Sacrifice and elimination of edges and corners

Session 7: Angular Composition, The Triangle A force by concentration through stable construction

Session 7: Angular Composition, The Triangle A force by concentration through stable construction

Session 7: Angular Composition, The Triangle A force by concentration through stable construction

Compose the main form of triangles as well as supporting spaces

Session 8: Angular Composition, the main roll of angles to construct the composition

Session 7: Angular Composition, The Triangle A force by concentration through stable construction

Session 7: Angular Composition, The Triangle A force by concentration through stable construction

Angles produce equality between horizontal and vertical lines, through series of right angles that arrive at the same point as a tangent

Session 9: Structural and Conjunctive Lines in a Composition

Session 7: Angular Composition, The Triangle A force by concentration through stable construction

Session 10: Composition with group of units, The importance of s-shape structures in a composition

Lines convey aesthetic value, visual sense, and emotions Plan a linear design connected with the frame through conjunction of vertical, horizontal, curve, zigzag, circular, and oval lines  

Session 10: Composition with group of units, The importance of s-shape structures in a composition

Session 10: Composition with group of units, The importance of s-shape structures in a composition

Session 10: Composition with group of units, The importance of s-shape structures in a composition

Create harmony of arrangement considering focal point through personal perspective Unifying units within four sides of the frame through following light and shade 

Session 10: Composition with group of units, The importance of s-shape structures in a composition

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Course 6: Collage Making, The Art of Thinking

About the Course

The process of making a collage is such an encouragement allows you manipulating visual elements in order to achieve a well balance space in painting. The entire process needs having strong background of drawing, being sufficiently familiar with the concept of form, and being able to accomplish an understandable connection between the units in a composition.


Admittedly, in some point collage making is such an overwhelming practice of art. In fact, making a balance between different units in a composition through arranging diverse textures and patterns is challenging. Particularly, creating harmony between similar and dissimilar forms as well as embark upon too many tones of colors, patterns, irrelevant marks, and their effects on each other is an exciting practice which needs hours of practice to operate those visual elements in painting. Students are always encouraged to refer to any source image as a best solution having better control over arranging different layers of marks and textures completing the painting.  


In this course, throughout series of practices, you will be allowing yourself exploring new involvement with nature reflecting organic patterns and textures in your art making an influential relationship between diverse and irrelevant features. 


Course 6 materials and equipment


 

Course Outcomes

  • Ability to create a well-balanced composition 
  • Having better control over manipulating layers in a composition 
  • Better understanding of texture creating atmosphere in a composition 
  • Ability to make proper connection between different patterns and forms in painting  
  • Ability to leading the eye through a harmony in a composition 
  • Better understanding of different observation 
  • Ability to reflect organic patterns and textures in your art  

Registration

Course 6 Practices

Session 1: A lookout, Week 1: Sketching, exploring, and developing the idea

Session 1: A lookout, Week 1: Sketching, exploring, and developing the idea

Session 1: A lookout, Week 1: Sketching, exploring, and developing the idea

 Mark making with graphite and charcoals preparing the source material  

Material:

  • Graphite Set
  • Charcoal set
  • Different bases


Session 2: A lookout, Week 2: Complete the painting

Session 1: A lookout, Week 1: Sketching, exploring, and developing the idea

Session 1: A lookout, Week 1: Sketching, exploring, and developing the idea

Arranging patterns and textures in the composition based on the first study   

Material:  

  • Cardboard
  • White glue
  • Painter Tape 

Session 3: Street Viewing, Week 1: Sketching, exploring

Session 1: A lookout, Week 1: Sketching, exploring, and developing the idea

Session 4: Street Viewing, Week 2: Complete the painting

Developing the idea. Mark making and preparing the source material 

Materials: 

  • Markers Set
  • Windsor Inks set 
  • Watercolor brush set 
  • Watercolor paper
  • Different papers
  • Trey
  • Jar

Session 4: Street Viewing, Week 2: Complete the painting

Session 5: A Houseplant, Week 1: Sketching, exploring, and developing the idea

Session 4: Street Viewing, Week 2: Complete the painting

Arranging patterns and textures in the composition based on the first study 

Materials:

  • Cardboard
  • White glue
  • Painter Tape 

Session 5: A Houseplant, Week 1: Sketching, exploring, and developing the idea

Session 5: A Houseplant, Week 1: Sketching, exploring, and developing the idea

Session 5: A Houseplant, Week 1: Sketching, exploring, and developing the idea

Mark making and preparing the source material 

Material: 

  • Markers Set
  • Different papers

Session 6: A Houseplant, Week 2: Complete the painting

Session 5: A Houseplant, Week 1: Sketching, exploring, and developing the idea

Session 5: A Houseplant, Week 1: Sketching, exploring, and developing the idea

Arranging the mixture of different patterns and textures in the composition  

Materials:

  • Cardboard
  • White glue
  • Painter Tape 

Session 7: A Landscape, Week 1: Sketching, exploring, and developing the idea

Session 8: A Landscape, Week 2: Creating a depth in painting through layering the units

Session 8: A Landscape, Week 2: Creating a depth in painting through layering the units

 Mark making preparing the source materials  

Materials:  

  • Windsor Inks set 
  • Watercolor brush set 
  • Watercolor paper
  • Different papers
  • Trey
  • Jar

Session 8: A Landscape, Week 2: Creating a depth in painting through layering the units

Session 8: A Landscape, Week 2: Creating a depth in painting through layering the units

Session 8: A Landscape, Week 2: Creating a depth in painting through layering the units

Completing a painting through Arranging the mixture of different patterns and textures in the composition

Materials: 

  • Cardboard
  • White glue
  • Painter Tape 

Session 8: A Landscape, Week 2: Creating a depth in painting through layering the units

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Course 6 materials and equipment

Mediums

Applicators

Applicators

  • Graphite, 4B drawing pencil 
  • Graphite, 8B drawing pencil 
  • Charcoal stick, soft hardness
  • Black Indian Ink 
  • Windsor  Drawing Inks 

Applicators

Applicators

Applicators

  • Bamboo reed pens
  • Steel pen and various nibs
  • Sable brush for Ink #8
  • Smudge blender
  • Foam brush and roll
  • Kneaded rubber eraser

Supports

Applicators

Equipment

  • White Bristol board sheet
  • Watercolor paper 
  • Newsprint paper 
  • Bristol paper

Equipment

Equipment

Equipment

  • Masking tape
  • Liquid school glue
  • Glue stick
  • Candle
  • Paper towel
  • Aluminium Foil
  • Twine string 

Accesories

Equipment

Accesories

  • Drawing board
  • Tray
  • Glass jar

Equipment

Accesories

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  • Home
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  • Symbiosis (2021-22)
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  • Femininity (2014-15)
  • Quadri (2013)
  • Sustain (2012)
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  • Close to Me (2009)
  • Sheykh e San-An (2008)
  • Shadows (2007)
  • Flowers (2006)
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